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Vaughan Williams- On Wenlock Edge No. 1, 3 and 5 (On Wenlock Edge…

- - - - Sul Ponticello- the player bowing near to the bridge to create a thin rather strained tone- e.g.- in bar 57 loudly to create a much more aggressive effect ( to represent the force of the gale
      - Tremolo
        
        rapid succession of notes to represent storm and turbulence (b. 1-3
        
        Alternation between two notes a 3rd or more apart (b. 57-64)
      - Long trills- intensify the atmosphere created by the tremolos
  - - - In bars 6-10, the cello and (left hand) piano double the voice, an octave lower, while the piano right hand maintains continuous broken chord semi-quaver sextuplets.
      - There are long trills in inner string parts
      - occasional ornamental details in violin 1
  - - - Intro (1-6)- descending parallel first inversion chords with chromaticism and false relations
        
        Stanza 1 (6-16)- 'On Wenlock Edge..'- vocal melody is mostly pentatonic, but chromatic from bar 14
        
        Interlude (16-21)- Almost identical to bars 1-6
        
        Stanza 2 (21-31) 'Twould blow like this...'- similar to bars 6-16, but with some changes in the tenor part to suit the new words
        
        Interlude (31-33)- Flourishes in piano against long trills in strings
        
        Stanza 3 (34-43) 'Then, 'twas before my time'- New chromatic motif (strings bars 35-36). Then (at bar 39) descending parallel first inversion chords in the piano (different from those in the intro)